• Korean Journal of Human Ecology
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• v.13 no.3
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• pp.467-475
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• 2004

The purpose of this study was to examine the sewing construction of a double robe, the difference between the single and double robe, and the size and construction method of the double robe through a close analysis of a replica to facilitate a better understanding of the robe making in late Chosun dynasty. The results were as follows: 1. There was no significant difference in the design and sewing method between the girl's robe and an adult's even though the girl's robe was much smaller. 2. The girl's robe differed from its modern counterparts in some respects: unlike modem robes, Chungyun's robe consisted of two-layers in which the four layers were sewn together and it could be seen most clearly in the way the collar was stitched only onto the outer layer. The two layers seemed to be put on successively since they were not sewn together. The inner collars of the two robes were sewn together when the maker put on a coat string to the outer robe, and the two robes were put together with hemming and blind stitch at the top of the outer collars to make the robe formally stable, which clearly distinguished the princess' robe from a single, for example, four-layered robe. The robe was constructed using traditional sewing methods including broad stitch, back stitch, hemming, and blind stitch, and each stitch was only about 1 mm wide. 3. The maker of the robe managed to construct a formally stable and aesthetically satisfactory robe with the least amount of fabric and proper sewing methods.

• Korean Journal of Human Ecology
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• v.12 no.3
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• pp.377-389
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• 2003

The purpose of this study is to obtain the symbolic meaning of the priestly costume through the Bible. Based on corroborative the Bible, this thesis analyzes the costume of priest. This compares the two onyx stones on the shoulder pieces with four rows of precious stones on the breastpiece. This era falls on about from the 15th century before Christ. It was found that the breastpiece was a piece of the same multicolored linen as in the ephod, a span square when folded double. It symbolizes righteousness. It hung on the high priest's chest, supported by two golden chains attached to the shoulder clasps. It symbolizes love. On the breastpiece were twelve beautiful jewels, arranged in four rows of three jewels, each jewel symbolizing one of the tribes of Israel. The variety of jewels on the breastpiece suggests the variety of people. Urim is the Hebrew word for 'lights' and therefore would logically be associated with bright or white stones. Thummim is the Hebrew word for 'perfection'. The high priest's ephod was made of gold, and of blue, purple, and scarlet yam, and of finely twisted linen. The golden yam symbolizes faith. The robe of the ephod was made entirely of blue cloth. The blue color symbolizes an obligation and life. The robe of the ephod symbolizes calling and dignity. The woven tunic symbolizes holy duty.

• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.340-358
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• 2017

The purpose of this study is to fundamentally examine the vests of the robes "Daeraebok" and "Soraebok" of the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korea to Japan. Among the collections of different robes of the Korean Empire which belong to various universities and institutions, only the vests were surveyed. The shape of the vests in the Korean Empire were single-breasted and double-breasted. Most V-necklines and vests with a shawl collar look like a tailored collar, where the collar outline was shaped like a notched and picked collar, which is a mix of the step collar and roll collar of the 19th century. The rear center line was not flat, but inclined to a triangle. All vests of the robe Daeraebok were equipped with gold buttons, and those of the robe Soraebok had black satin buttons. The tailoring characteristic is that the front has a different material (dark black wool) from the back (black silk). This characteristic is expected to be an important basic piece of information in the restoration and reproduction of the vest, which was worn during the imperial period, especially to reveal its shape, characteristics and composition. This characteristic can also be used as data of cultural contents based on Korean modern history.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.29-44
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• 2013

This study is about the periodic characteristics of Wonsam in the Joseon Dynasty. Wonsam include the Danryeong-shaped Wonsam in the beginning, the compound Wonsam in a period of transition and the stereotyped Wonsam in the late Joseon Dynasty. The formative characteristics of Wonsam are divided into four stages. The first stage of the Wonsam is from the 15th to 16th century. The shape of Wonsam began to form and it was similar to one of Danryeong during this time. The formative characteristics of the first Wonsam included collars that looked like one of Danryeong, side pleats(called Moo) with multiple inner folds, straight cylinder-shaped sleeves, and a belt tied with the Wonsam. There were various fabrics that were used for the Wonsam from this stage. Second stage of the Wonsam is from the early 17th to mid 17th century. This period marked the beginning of the transition of the Wonsam and it served as a stepping-stone to the development stage in the Joseon Dynasty. The characteristics of the transitional Wonsam were a complex combination of the Danryeong and Wonsam. During this period, the Wonsam went through many changes and forms in a short period of time. Third stage of the Wonsam is from the mid 17th to early 19th century. The Wonsam was developed at this stage. The developed Wonsam went through a period of transition equipped with a stable form. The formative characteristics of Wonsam during this period included collars that faced each other, big and wide sleeves with multicolored stripes, Hansam, curve-edged side seam and the side pleats(Moo) with multiple inner folds had disappeared. It was a turning point from the single-layered clothes to double layered clothes and from dark blue to green color appeared at this time. The fabric patterns of this stage tended to consist of more simplified silk pattern. The fourth stage of the Wonsam is from the late 19th to 20th century. The Wonsam was expanded at this stage. The formative characteristics and fabrics were typically used for the standard Wonsam and were divided into two types; as a ceremonial robe used in courts and a wedding ceremonial robe for the common people. Phenomena such as sewing of double-layered clothes as one and straight-edged side seam during the late Joseon period developed into simpler and more practical fashion culture.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.17-34
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• 2014

This is a theoretical and empirical study on Kasaya, the Buddhist monk's robe, which is one of the traditional Korean costumes that has kept it original form, as well as it being the most symbolic ritual costume in Buddhism. The purpose of the study is to see the different types of Kasaya, and the transitions it has gone through since Mid Joseon Dynasty. The analysis was performed after categorizing Kasaya in the following manner: layers, the way to wear, symbolism in construction, sewing, etc. Having a variety of Ilwolguangcheop(日月光貼) is a feature of Korean Red Kasaya. In the beginning, Its shape was very similar to shape of Hyungbae(胸背), and this was a royal gift and had the same meaning as an official uniform for a Buddhist monk. So designs of the Cheop(貼) could have been transformed from those of Hyungbae with a Buddhist twist. The conclusion of the study is as follows: Double layered Kasaya shows its transition from double layer to single layer. The fastening ornaments have been simplified in all materials from Yeongja(纓子). The latch type and three-paired Yeongja type transformed into hook type and one-paired Yeongja type. Color is the most common feature above all, and it is mainly in red. The form of Korean Kasaya has a significant relation with development of Buddhism. The integration of the Zen sect would have influenced the integration of Kasaya, which shows diversity throughout the period.

• Journal of the Korean Society of Costume
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• v.30
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• pp.69-84
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• 1996

The main current of ancient Korean thought is based on Yuk(易) : which solves the principle of creation of universe letter(文字) which is the principle of geometry and three elements thought of circle square . It's related to the creation principle of the universe and regarded as a sign that demons-trates shows the way to read the mathematical principle. The original form of Korean clothes(Han-Bock, 韓服) is represents the structure of hu-man body which reflects a small universe. So a good structure and meaning of the human body is well read in the formation of Korean clothes(Han-Bock, 韓服) and that is a good symbolization of the clothes(Han-Bock, 韓服) as the space of small universe. The good formation of Korean clothes(Han-Bock, 韓服) could be shown by cutting out straight bending twisting and turning each straitly cutting piece is applied to its trans-tormation. Geametical formation with obvious sym-metric dividing of front-back left-right and top-bottom is well shown in Korean clothes by twisting Yuk(易) or m bius strips. So we can find out whole formation by representing only either 'front and back' or 'left and right' and also sa-pok(사폭) of man's trousers seop(섶) of jeo-go-ri(short jacket 저고리) kyut-ma-gi(곁마기) of Sam-hwai-jang jeo-go-ri (삼회장 저고리), mu(무) of jig-ryung(straight collar and long and wide sleeved robe, 直領) trouser wide and ga-rae-ba-dae(가래바대) of dan-cok-kok(woman's under trousers). The formation line of Korean clothes(Han-Bock, 韓服) is based on theprinciple of unlimited m bius strips by twisting of turning direction from universal principle and original basic form is not changd even by turning in-side out. Unity of the whole and part in Korean clothes(Han-Bock, 韓服) could be found in nonorientable thought(非始原思想) which represents the unity and dependence kil(길) of jeo-go-ri(short jacket, 저고리) and po(long and wide sleeved robe, 袍). Selva-gewise(식서방향) of sleeves and seam of out-side of kil(길) and outside of seop(섶) are directed to outside of seop(섶) inside of seop(섶) is to kil and direction of inseam of kheut-dong(끝동) and kyut-ma-gi(곁마기) is directed to sleeves. Korean clothes(Han-Bock, 韓服) is usually made by cutting fabric for several parts and sewing them and the way to make Korean clothes is deeply related to the theory of chon-pu-kyung jong-il and il-seok -sam-geuk. As the development of men's consciousness is pro-gressed from total separation to separation and superseparation. Sewing process of korean clothes(Han-Bock, 韓服) can be make single dimension to double or triple dimension of korean clothes(Han-Bock, 韓服) silhoutte bacause it can be include principle of topology as noneuclity.